Geometric rock art in Lake Victoria Region of Kenya, Tanzania, and Uganda (United Republic of Tanzania)

Description

Rock art, whether painted or engraved, serves as windows into the past, offering us insights into the lives of people who lived within specific landscapes. Research over many decades has taught us that these paintings and engravings were not simply for decorative purposes. Rather, these images were representations of spiritually important experiences (Lewis-Williams 1981; Smith 1997; Namono 2010; Ndlovu 2013). Such findings were a significant move from the days when interpretations of rock art were highly simplistic – anchored on the belief that authors of paintings and engravings were not human enough.

The African continent is characterized by various kind of rock art, dotted throughout the continent. These vary at many levels and beyond simple stylistic analyses. For instance, the southern African region is well known for the many fine-line paintings made largely along the coastal areas. As a result, there are several rock art landscapes that have been inscribed as World Heritage Sites. Among these are the (i) Maloti Drakensberg Park, a transboundary site covering Lesotho and South Africa, (ii) Matopo Hills in Zimbabwe, (iii) Tsodilo Hills in Botswana, and Twyfelfontein in Namibia. The dominance of rock art among the inscribed sites of southern Africa is not replicated in East Africa. Kondoa rock art landscape stands tall as the only one that has been inscribed into the list of World Heritage Sites (Bwasiri 2016).

The Geometrick Rock Art Sites in Lake Victoria Region (Figure 1), which is mainly geometric in style, is meant to address this imbalance, to ensure that rock art of the East African region is given the international recognition it qualifies for. This rock art region has not attracted the same level of interest as in other areas of the African continent – and this is no negative judgement against the imagery, but simply that East Africa was only intermittently researched for the rock art made by the Pygmy people. Research has, however, uncovered the extent to which these rock art images are similarly imbued with spiritual potency (Namono, 2010a, 2010b, 2011, 2012; see Chaplin 1974; Mabulla 2005).

Lake Victoria Region – anchored around the 69,484 square km Lake Victoria, the largest of its kind in Africa and the main reservoir for the Nile – covers the eastern parts of Uganda, the northern areas of Tanzania, and the western areas of Kenya. This region has many rock art sites. However, and for the purpose of the intended inscription, a specific number of sites from the Lake Victoria Region have been identified: 24 in Uganda (six at the Dolwe Island and 18 within the Kumi District), three in Kenya (Mfagano Island has two sites – Kwitone and Mawanga – and the Kakapel shelter), and 46 in Tanzania (four at Bukoba, 24 at Muleba, two at Mwanza, nine at Bukoba District, and seven at Musoma). All these sites are found on granite outcrops. Among the motifs found within all these rock art sites are the large and red geometric finger-painted shapes connected with fertility and potency among the Pygmy hunter-gatherers (Namono, 2010a, 2010b, 2011, 2012; see Chaplin 1974; Mabulla 2005; Namono 2010b; Hollman 2017). Existing understanding, based on dating studies undertaken at two sites in Uganda (Nyero and Kakoro), is that rock art paintings were made between 1,000 and 5,000 years ago.

This proposed transboundary site follows the 2015 decision taken at the 39^th session of the World Heritage Committee held in Bonn (Decision 39 COM 8B.9), to explore the geometric rock art sites found within the broader region encompassing Kenya, Tanzania, and Uganda. Subsequently, a revised comparative analysis was submitted in 2017, which led to the decision by UNESCO that a transboundary serial nomination be considered by the three countries of Uganda, Kenya, and Tanzania. This was after extensive surveys of the Lake Victoria Region for rock art sites within the three countries.

Name(s) of the component part(s)

Description of the component part(s)

All the rock art sites that have been identified and included in the proposed nomination and inscription of the transboundary World Heritage Site (Geometric rock art of the Lake Victoria Region) are found around the majestic Lake Victoria that traverses three countries: Uganda, Kenya, and Tanzania. This is not only Africa’s largest lake but is also the only tropical lake of its size throughout the world (see Hickling 1961). The Lake Victoria was named after the British Queen Victoria by the first European credited with being the first settler to have seen it.

The lake, formed on a shallow depression, is known to be home to many animal species (Kingdon 1997; Spawls et al. 2002), ranging from mammals (i.e. hippopotamus, waterbuck, African clawless otter, etc.) and reptiles (i.e. Nile crocodiles, African helmeted turtles, etc.). Not only is this landscape vital for its biodiversity, it is also a location that was inhabited by many populations over time, one of which were the Pygmy people.

Like other areas in southern Africa, where variation of rock art has created specific zones with related imagery, the same is evident in the Lake Victoria Region. This is evident in the fine-line paintings of the Maloti-Drakensberg Park (Lesotho and South Africa) inscribed into the World Heritage List. In the same vein, the northern area of South Africa has rock art that closely resembles that of southern areas of Zimbabwe. This is not surprising, considering that those who authored the paintings and engraving were not subjected to what are now international borders between various countries. It could be argued, therefore, that the Lake Victoria provided habitable surroundings from which the rich tradition of making rock art prospered. Several similarities have been noted across the international boundaries. For example, a painting of concentric designs characterised by radiating spikes (moon/sun-like) were recorded at Chole rock art (Site 1) in Tanzania, at the Mwanza District (Nyankira Village). These resembles those that were recorded at the Mfangano Island in Kenya, as well as the Dolwe Island and Nyero in Uganda. Rock hollows or grinding grooves (see Soper 1968) were recorded at the same site, Chole rock art (Site 1) in Tanzania, even though they were not as many as those discovered at Bukangwa site 1, Dolwe island. To illustrate yet another case of regional similarity of rock art imagery, one can refer to the Nyakingi site in Tanzania, at the Musoma District (Kasoma Village) – where local people tell a story of how fighting between various groups of people led to the tendency to accumulate piles of stones which proved to be vital weapons during conflicts against an attacking army. Beynd the borders of Tanzania, the same ‘tradition’ has been recorded at the rock art site at Dolwe Island.

List of sites in Tanzania

-Bukoba district (Bwanjai Village)

Bihanga rock art site (sites 1, 2, 3, and 4) S01.20599 E031.69787

These sites are found in natural rock shelters, geologically located on rocky ridge facing Lake Victoria in the east. 

These four sites are found in proximity, about 50m from each other. Theres graffiti that was probably made by children. Hundreds of ‘cattle” style figures and dots in red paint in all the four shelters.

Site 1: has ‘cattle’ style drawings and dots all in red paint but meshed with charcoal graffiti.
Site 2: cattle style in red color. Allot graffiti (white chalk, blue oil paint and charcoal).
Site 3: red painting of cattle style, and white chalk graffiti.
Site 4: paintings are found in a high area above ground.

Alufulenge site S01.20551 E031.71195

The site has cattle motif with dots of all red painting. Pottery and stone artefacts were noted on the floor of the shelter.

Nyabihokwe site S01.20551 E031.71195

The site has dots alongside ‘cattle’ style drawings all in red paint.  Iron slags were noted in the cassava gardens ahead of the shelter.

A huge termite anthill has grown in the shelter, touching the ceiling of the shelter where paintings are. The anthill destructs proper visibility of the paintings.

Nyamija rock art site (sites 1 and 2) S01.21586 E031.72347 / S01.21535 E031.72360 / S01.21517 E031.72371

Site 1: a big rock shelter formed on the rocky ridge facing Lake Victoria swamps. It has several drawings of ‘cattle style’ and dots all in red. Paintings are at the wall and the ceiling of the shelter. There is a lot of graffiti in brick-red pigment.

Site 2: This second site also has several ‘cattle style’ paintings all made in red paint.

Site 3: The paintings were made within the shelter located on the rocky ridge facing the Lake Victoria. This site has a lot of graffiti – probably made by the children.

Kanyigo rock art site S01.09472 E031.74250

This site has seven drawing of ‘cattle like’ paintings, all in red paint. Some of these images have, over time, been covered by a dark pigment brought by water effect on the rock. The painted panel is on an inhabitable shelter created on slopy rocky ridge facing Lake Victoria in the east.

The paintings are fading due to much exposure to light and rainwater. Also, there was graffiti note among the ‘cattle’ figures.

-Muleba District (Ninga Village)

Ninga site 1 and 2 S01.79788 E031.60626

These two rock shelters – found about 10m apart – have red paintings, site 1 is heavily painted while site 2 only has a few paintings. There are geometric designs which Chaplin (1974) called ‘tortoise’ paintings and ‘cattle style’ paintings.

The site is used a prayer place, and evidence for such was a mat and dry grass laid within the shelter.

-Muleba District (Ihangiro Village)

Kasheke rock art (site 1) S01.81521 E031.58421

The site has so many geometric designs (‘grill-like’ design) all in red paint and distributed in an area of approximately 20 meters wide. Wavy lines with grill, the milliped-like geometrics are among the common figures.

The site is not physically intact due to rock fractures that are highly likely.

Kasheke rock art (site 2) S01.81426 E031.58291

The site has red unidentifiable geometric designs, some of which are faded due to rainwater. Among these unidentifiable designs is a single figure with crisscross line painting.

Kasheke rock art (site 3) S01.81348 E031.58204

The site 3 has geometric designs (circles with lines inside) made in red.

Kasheke rock art (site 4) S01.81330 E031.58238

The site is defined by red geometric paintings. There is evidence for smoke, in the form of a soot, that is threatening rock art.

Kasheke rock art (site 5) S01.81217 E031.58191

Site 5 is characterized by red geometric paintings, some of which are superimposed. Figures of mat like drawing (vertical lines crisscrossing in mat format). Some of these paintings gave faded.

Kasheke rock art (site 6) S01.81219 E031.58190

This site has red geometric paintings, few of which are completely visible as many have faded.

Kasheke rock art (site 7) S01.81348 E031.58193

The site has red geometric paintings, some of which fit the description of ‘tortoise’ rock art as defined by Chaplain (1974). Other images have ‘grill’ lines. A brush technique was applied on a few drawings in red paint.

Kasheke rock art (site 8) S01.81589 E031.58257

Site 8 has a variety of red geometric designs. At the far-left corner of the shelter, unidentified figure close to circle with spikes (‘moon/sun-like’) and finger dots randomly distributed.

Kasheke rock art (site 9) S01.81700 E031.58277

Site 9 has a variety of red geometric designs painted, but one is superimposed on a white paint. Some figures are like ‘caterpillars’ or ‘milliped’ (a line drawing with a head and dots all around at the base of the shelter). In the middle part of the shelter, figures that resemble ‘boat anchors’ separated with finger dots which resemble images of Nyero site 2 in Uganda. Other figures are in a continuous wavy line form in red colors below the ‘boat anchor’. Brush technique was noted on few figures at lower part of the shelter.

Kasheke rock art (site 10) S01.81684 E031.58254

Site 10 has a variety of drawings in red while one of them has got an addition of white brush paint (not superimposed). The common figures are wavy lines, draft (or ‘windows-like’ figure) and dotted lines. The site is used as a resting place for cattle herders, and evidence for cooking was noted on the floor. There’s a lot of graffiti at this site.

Kasheke rock art (site 11) S01.81804 E031.58359

This site is characterized by a variety of images, all in red. The common figures are wavy or zigzag lines, and dots. On the lower part of the shelter are four ‘human-draft’ like images standing on top of wavy line (possibly a snake). There is a ‘moon/sun-like’ circle with spikes on top of these images. Charcoal graffiti has been recorded.

Kasheke rock art (site 12) S01.81828 E031.58396

There are a few drawings in red, with ‘moon/sun-like’ radiating spikes, wavy or ‘caterpillar’ like figure, and dots either randomly made or incorporated into geometric figures.

Kasheke rock art (site 13) S01.81229 E031.58193

There are a few red paintings, much of which have faded away as the result of water damage.

Kasheke rock art (site 14) S01.81273 E031.58179

This is a very small and inhabitable shelter, with red paintings.

Kasheke rock art (site 15) S01.81528 E031.58197

All paintings in this shelter are in red. Imagery is a mixture of draft line all over the ceiling of the shelter including one ‘moon/ sun-like’ figure. Some wavy figures with dots inside at the front part forming the ceiling of the shelter.

Kasheke rock art (site 16) S01.81832 E031.58377

A small shelter, with red paintings, except the one figure with an element of a black colour. Star like figure with random dots made in a dark red colour surrounding it. In addition, there is a ‘window figure’ in a dark red paint and a number of vertical lines in pale red paint. A caterpillar like figure also was noted in red paint.

Kasheke rock art (site 17) S01.81373 E031.58265

This site is characterized by a pale red geometric drawing of pyramid like. The site is not habitable.

Kasheke rock art (site 18) S01.81470 E031.58320

This site has two areas with rock art paintings. On the upper area is a brush technique of ‘leaf-like’ drawing while the lower shelter has a ‘tortoise-like’ and other geometric drawing in red paint.

Kasheke rock art (site 19) S01.81520 E031.58381

Site 19 has a double deck of rock shelters, both with red paintings. The lower shelter has a single drawing in a zigzag form. the upper shelter has a lot of drawing in red paint. concentric dots and other unidentified brush technique drawings on the upper part and the ceiling of the upper shelter. The paintings are in good condition except for the charcoal graffiti in the lower level of the shelter.

Kasheke rock art (site 20) S01.81861 E031.58534

This site has a few red paintings scattered across the shelter, which is at basement of the entire Kasheke hill. Drawings include ‘moon/sun-like’ figure, a fading ‘window-like’ figure at bottom wall of the shelter, and ‘tortoise’ figure.

-Muleba District (Kasheno Village)

Kasheno rock art S01.79980 E031.59124

This site is located in Kasheno village, Muleba district. The site has natural coloring (by iron oxides) which resemble birds’ feathers on a relatively flat surface rock. However, the community around believes that it was handmade like other rock paintings in the area.  This site is being actively used by the community – who visit it for various purposed. For instance, women are known to visit the site to pray for the reduction of body stretchmarks. On reaching the site, women harvest grass which is then rubbed against the rock art paintings before they do the same on their thighs. It is believed that Haya women who have small stretchmarks please men more in bed matters.

-Musoma District (Balima Village)

Balima rock art site S01.52142 E033.76458

This site is located near an abandoned church building. All the paintings in this shelter are all in a red color, and are fading. Images are characterized by concentric circles and other phallic-like figures resembling those in Uganda (at Kakoro and Mukongoro rock art site) which Namono (2011) called ‘spread-eagled shape’. There was no superimposition noted at the site. Pottery and lithic material were noted on the floor of the shelter.

-Musoma District (Kyama Joje Village)

Nyabikwabi site S01.59711 E033.77076

This site is locally known as Kyama joje site although some publications have referred to it as Nyabikwabi (see Mabula 2005). It has concentric circles, some phallic shapes, inverted triangles with dark and red shades, and other geometric shapes. An Anglican church was built in its core zone – which has given protection to the site that has no graffiti.

-Musoma District (Kasoma Village)

Chanyamisingi site S01.78609 E033.58143

The painted panel has red paintings of animal figures (human and cow like mix together), with no superimposition. The drawings on the panel can be described in three columns: first column of left has nine (9) human figures, the middle column has six (6) cow-like figures, and there are seven (7) human figures on the right column. A spear like figure in pale red on the right-hand side of the panel may indicate hunting activity, which is also illustrated by the posture of some human figures.

Nyakingi site S01.77543 E033.57049

The site has paintings made in many colors, including dark and pale red paintings. Images have faded over time. The common images found at the site are ‘moon/sun-like’ motifs, circles with spikes, and geometric figures with vertical lines. There is an active cultivation in the buffer zone.

The site is associated with local history, during which fighting between various groups led to the accumulation of stones, which was subsequently used during battle times against enemies. Similar piles of stones on rock boulders have been noted at Dolwe Island. Similarly, the red paintings of ‘moon/sun-like’ with spikes at this site resemble those at Bukangwa site 1 in Dolwe island.

Nyamangora site S01.78303 E033.57496

The site has a mixture of drawings, many concentric circles with human like/phallic figures all in dark and pale red colors. The larger panel is approximately 5 meters wide and has ‘Moo/sun-like’ figure of concentric nature in red paint, ‘uterus like’ motif, and snake like figure. There are a lot lithic and pottery materials under the shelter.

-Musoma District (Kasoma Village)

Nyabirungu rock art (site 1) S01.89576 E033.38121

The site has clear red and pale red concentric circles drawn alongside with other circles of spikes (moon/sun-like) and other geometrics designs on a wide-open shelter facing Lake Victoria.  There was no superimpositioning of images at the site. The site is in good condition, with no graffiti noted – but there is a cassava cultivation in its buffer zone.

Nyabirungu rock art (site 2) S01.89412 E033.38123

It is defined by one set of concentric circles and two other double layered circles with radiating strikes (‘moon/sun-like’) paintings in red chrome. Also noted were unidentifiable shapes made of various lines. A few potsherds were noted in the nearby cassava gardens as well as the pile of rocks which are believed to have been vital in the times of conflict, when one group invaded an area occupied by another. There are no immediate threats to the site, except for the noted cassava cultivation in its buffer zone.

-Mwanza District (Nyankira Village)

Chole rock art (site 1) S02.75065 E032.91202

This is one of four Chole sites found on the shores of Lake Victoria, two facing the lake while the other facing the opposite direction. These sites are accessible by a small village road branching off the main Kigongo-Mwanza highway.

Also referred to as Kichole-Nyankira (Chaplin 1974), the painted shelter is on a big boulder siting on slightly smaller boulder, both giving their back face to the lake. Painting are approximately 3 meters high from the ground and are all in shades of red (dark and pale red). Concentric circles dominate the panel, whereas there are other geometric designs. Some concentric designs have radiating spikes (moon/sun-like) resembling those at Mfangano Island in Kenya, Dolwe Island on Lake Victoria and Nyero rock paintings in Uganda. Rock hollows or grinding grooves (as referred to by Soper 1968b) were recorded at the basement of the site, though not in large numbers like at Dolwe island. The surrounding area of the chole site 1 is being used as gardens by local residents.

Chole rock art (site 2) S02.75166 E032.91260

This site specifically faces the lake and chole site 1, which is approximately 150 meters away. The panel rises to about 3 metres – with much of the paintings having been exfoliated or faded. Two concentric figures (one with radiating spikes or ‘moon/sun-like’), all in red paint are still visible, as well as the three vertical lines in dark red (possibly by brush technique) high at the top of panel. There is also an image representing what may have been a ‘boat anchor’ in red paint superimposed. At the lower levels of the panel, the paintings of an ‘allegator like’ geometric design in a fading dark red. The site is also characterized by phallic like shape faded on one side and dot possibly of finger technique.

Chole rock art (site 3) S02.75172 E032.91285

Chole site 3 is located near Chole site 2, which is approximately 10 meters away towards the southern side. The site has a single geometric drawing of circular figure in red paint on a slanting panel forming a shelter. 

Chole rock art (site 4) S02.75142 E032.91221

This site is found between Chole site 1 and Chole site 2. It has a big single concentric circle with spikes on upper part. The painting is in dark red but fading. The painted face of the boulder face eastwards while Lake Victoria waters can be seen in the background approximately 50 meters distance.

-Mwanza District (Bukumbi Village)

Bukumbi-kigongo rock art site S02.71666 E032.89538

This site is located at Chief’s Mtemi home, just above the royal Sukuma graves, south of the ferry landing site and the newly constructed Busisi-Kigongo bridge. All past Chiefs and their wives are buried at the Sukuma graves, including Mtemi Ilago Charles Kaphipa, father to the current Chief. Besides this spiritual importance of the place, the site is also used as the place of praying by the many pilgrims who visit – having been the first landing of Missionaries of Africa from Uganda. A concrete cross has been erected on top of the main rock (which has the painting). The place is remembered to have hosted Kabaka Mwanga of Buganda Kindom when he had visited Mtemi Ilago Charles

The site has two major drawings painted in dark red (which Chaplin 1974 referred it as claret) and minor concentric circles in pale red. The first figure is an upright rectangular design drawn with double lines of dark red (almost purple color), it has radiating spikes although its left side has been eroded. The second figure also drawn with dark red paint of double lines and spikes on the lower part. Inside the second figure there is one group of pale red concentric circles. The site is also rich in pottery (potsherds), lithic and grinding stones.

Justification of Outstanding Universal Value

Criterion (iii): Lake Victoria Region rock art, defined by the finger-painted red geometric motifs, is a representation of a cultural tradition that began well over four millennia ago in this East African locality. Fertility and potency were at the core of this rock art tradition authored by the Pygmy hunter-gatherers. While the Pygmy hunter-gatherers might have ceased to exist, the spiritual relevance of the rock art images they left behind still has much relevance to the current African population living within the surroundings – who use these sites for fertility and rain.

Criterion (vi): In maintaining the spiritual potency of rock art sites, local people use some of the rock art sites for the purpose of fertility and rainmaking (Posnansky & Nelson 1968). This is an important aspect, as it safeguards a long existing cultural tradition – across time, generations, and populations. Thus, the Lake Victoria Region has outstanding aspects of values that have been incorporated in contemporary beliefs and practices, an exceptional case compared to many other areas around the world.

Statements of authenticity and/or integrity

While natural factors have affected rock art imagery, what remains is illustrative of the significance of the hunter-gatherer paintings, not only to the Pygmy people, but even the African population that is now living within the landscape with rock art. The spiritual importance over such an extensive of time is highly indicative of the impact ritual purposes have over those who seek the divine intervention by their various ailments and lack of rain. Several rock art sites within the territory of Tanzania, Kenya, and Uganda have proved to still carry spiritual significance, with various groups visiting them to conduct ritual activities.

Justification of the selection of the component part(s) in relation to the future nomination as a whole

The discovery of rock art, across international borders linking three countries together (Uganda, Kenya, and Tanzania), is testament to the existence of a long history of producing paintings and engravings imbued with spiritual power. Some of these sites are still being used by the local inhabitants, continuing the management of these localities for their spiritual power. The relevance of rock art, beyond tourism, to local inhabitants is important in safeguarding it further – for the benefit of future generations. This illustrates the significance of Lake Victoria Region, as the place with a tradition of rock art that has continued over centuries.

Comparison with other similar properties

Rock art is not uniquely found in East Africa, but throughout the continent. While there is extensive regional variation in rock art, whether painted or engraved, the imagery of the Lake Victoria Region is imbued with spiritual potency. This has been found to be the same conclusion reached throughout the continent – when rock art studies have been undertaken. Yet, and unlike in southern Africa, the area does not have an extensive ethnographic record from which to draw interpretations of rock art. Like the fine-line paintings of the Maloti-Drakensberg Park in Lesotho and South Africa, Matopo Hills in Zimbabwe, Tsodilo Hills in Botswana, and Twyfelfontein in Botswana, rock art from the Lake Victoria region is well preserved and continues to be of critical relevance to various population groups. There has been only one transnational boundary World Heritage Site (Maloti-Drakensberg Park) with a cultural significance informed by rock art. The first inscription, proposed by South Africa, was in 2001 while the extension into Sehlabathebe in Lesotho occurred in 2013. All the southern African rock art areas that have been inscribed as World Heritage Sites were occupied by Bushmen people when the images were produced. No rock art authored by the Pygmy, like that of the Lake Victoria Region, has previously been accorded international recognition.